Lilo: “We’re a broken family, aren’t we?”
Nani: “No. Maybe a little. Maybe a lot. I shouldn’t have yelled at you.”
Lilo: “We’re sisters, it’s our job. I like you better as a sister than as a mom. And you like me better as a sister than a rabbit, right?”
Whenever I bring up 2002’s “Lilo & Stitch,” most people in the room immediately exclaim “I love that movie!” But despite that it doesn’t seem to get the same sort of attention as other beloved Disney films.
Due to its relatively recent release, it’s not a movie most people grew up with and thus return to often. And for some reason it doesn’t get constant dorm room play like 2000’s comparably irreverent and zany “The Emperor’s New Groove” (at least it didn’t at my college). So that’s why I’ve chosen “Lilo & Stitch” for my next installment of Underappreciated Disney Films.
“Lilo & Stitch” shares a few similarities to previous underappreciated film “Robin Hood”: blithe disregard for the seeming rules of its genre, and an overall theme of family. At the movie’s open it feels more like fare from Pixar or DreamWorks than a Disney film.
The first scenes are set in space, with title cards punching onto the screen X-Files style, and a host of aliens gathered in a room reminiscent of the Senate chambers from the Star Wars prequels. The first words out of Stitch’s mouth, in an alien language, are presumably a curse or other naughty phrase.
The film’s extraterrestrial element sets it firmly in the realm of science fiction, but the majority of the movie takes place on a small Hawaiian island. The ultimate lesson of the movie is about family, and though a main plot element is Stitch’s plight, what really captures attention is Nani and Lilo’s struggle to stay together. The scenes that make sudden use of advanced technology and alien characters (aside from Stitch) almost come as a surprise, so engrossed are we in the Hawaii-set storyline.
A story with such complexity of genre seems more like it belongs in a science fiction novel by Ursula K. LeGuin than a children’s movie. In addition, when characters appear with names like “Cobra Bubbles,” and aliens comment on using Earth as a nature preserve to rebuild the mosquito population, I feel more like I’m watching a movie from the makers of “Shrek” than a Disney film.
But despite its sometimes uneven tone, the film ultimately works. This is due to its colorful characters and binding theme of family. I used the above quote to open the article because it’s a perfect representation of what makes “Lilo & Stitch” so lovable. It’s very bold and forthright about the familial troubles facing Nani and Lilo, and the dialogue, especially Lilo’s, is so realistic.
Nani and Lilo readily acknowledge their faults as a family, but we see how much they love each other. The Hawaiian word “ohana,” translated here as “family,” becomes the film’s refrain. It’s that concept which turns Stitch from his embedded destructive ways into a member of a family.
Those destructive ways are what give the film most of its laughs, especially for younger children. Stitch destroys nearly everything in his sight, even at times without meaning to. He’s like a destructive, wily, extra-adorable Energizer Bunny. In that sense he almost reminds me of a toddler.
The other character who really shined for me was Lilo. She sounds like a genuine child. It’s refreshing to have a young character sharp for her age, but not unbelievably precocious and well-spoken, like many young heroes in books and film.
Other things really endeared this movie to me, including small bouts of word play (though nothing at the level of “Robin Hood”), Nani’s realistic build/appearence, and its zany humor. But what makes this film a must-see along with Disney’s other greats is its heart, which is centered around a family.
Related Articles:
Disney’s 10 Best Animated Films
Host a Hawaiian Luau Wedding Reception
Ving Rames: Big Heart, Big Talent